Hidden Gems: The Secret Classical Record Series Audiophiles Shouldn't Ignore
LINK TO FULL VIDEO
in today’s post I would like to share a secret—a secret many seasoned classical record collectors already know, but which newer vinyl fans are just starting to discover. I’ve received a lot of emails lately from those new to classical vinyl, asking about labels, pressing variations, and which versions are worth seeking out. That inspired this post.
While re-leveling my collection to make room for a towering stack of new Speakers Corner reissues, I found myself pulling older titles off the shelf—albums I hadn’t played in years. They were destined for my vault, but before tucking them away, I gave them one last spin. And wow.
Hearing these forgotten records on my newly upgraded system—including the Perpetuum Ebner PE 6060, VPI Scout, ModWright PH 9.0 phono stage, KNA50T tube amp, and System Audio Pandion speakers—was like rediscovering them for the first time. These weren’t just placeholders; they were revelations.
That’s when I realized I needed to talk about the London Stereo Treasury series.
What Is the London Stereo Treasury Series?
In 1967, Decca UK launched a budget reissue line called Ace of Diamonds. In the U.S., we got the London Stereo Treasury (LST) series—essentially the same pressings, same matrices, same mastering. Only the covers and branding were different.
And while the jackets aren’t anything to write home about—most feature generic illustrations and utilitarian typography—the magic lies in the grooves.
These records preserve some of the greatest classical performances ever recorded during Decca’s golden age: top-tier orchestras, conductors, soloists, and Decca’s legendary engineering. The original tapes were used, often by the same mastering engineers responsible for the original "blueback" FFSS Londons, just using slightly more modern cutting chains by the late '60s and into the '70s.
Why They Matter—and Sound So Good
Unlike the earlier all-tube-mastered FFSS editions, LST releases were typically mastered on solid-state gear. That doesn’t mean worse—just different. In fact, the slightly updated mastering can offer a more modern sonic profile, sometimes with even better clarity and bass.
And here’s the kicker: they’re cheap. Like dollar-bin cheap. Many of these gems can be found for $1–$5. Even some rarer ones might only cost $10–$15. You’re getting world-class recordings and engineering at a fraction of the price of modern reissues.
What to Look For
Raised-label pressings: These typically offer the quietest vinyl and best fidelity. Look for that "platform" ridge around the label.
Mastering engineer codes: Pay attention to the matrix codes. A “G” indicates Ted Burkett, who cut some of the best-sounding pressings. “W” is also reliable. Even less common letters are worth exploring.
Late pressings preferred: In many cases, the later pressings on black/orange or silver/orange labels outshine their predecessors in both quiet surfaces and refined mastering.
A Few Listening Highlights
Stravinsky – Piano & Wind Concertos (Magaloff, Ansermet): Spacious, dynamic, glorious.
Tchaikovsky – Nutcracker Suite (Narbach): Magical, great string tone and depth.
Sibelius – Violin Concerto (Ricci): Rare as an original; stunning as an LST reissue.
Chopin Piano Works Vol. 3 (Kempff): Beautiful tone, especially on Sonata No. 2.
Bach – The Musical Offering (Munchinger): A standout in spaciousness and intimacy.
And don’t overlook:
Bizet – Carmen Suite
Weber – Overtures
Ravel – Boléro & The Three-Cornered Hat
A Note on Sleeves
Most come in a hybrid paper-plastic sleeve. While they’re usually reliable, under poor storage conditions they can stick or degrade. Swap them out if needed—but know that these sleeves often mean the vinyl inside has stayed in excellent condition.
Final Thoughts
The London Stereo Treasury series is one of the best-kept secrets in audiophile collecting. While original bluebacks and high-end reissues get all the glory, these budget pressings can often match or even exceed them in sound—at a tiny fraction of the cost.
So next time you’re crate-digging, don’t overlook that dull brown-and-white sleeve. It might just be the best-sounding record you pick up all year.
Let me know what gems you’ve found in the LST series. I’d love to compare notes.
